• The Kiss of Her Flesh

    The Kiss of Her Flesh


    On the one hand, this is sloppier and a more conventional sex film than its forerunner, but then it periodically goes off the deep end with some truly out there ideas (poisoned sperm?!). As the title card says, "Positively the End of Richard Jennings" and at this point, you're almost sorry to see him go.

  • The Curse of Her Flesh

    The Curse of Her Flesh


    Micheal Finlay is back as Richard Jennings to carry on his revenge in this middle chapter from the FLESH trilogy. Considerably kinkier and better photographed, this even has sync sound (sometimes) and sure seems like one of those adult movies revealing more about the director's obsessions than you might want to know. Catholic guilt can sure make for some strange fantasies.

  • The Touch of Her Flesh

    The Touch of Her Flesh


    After catching his wife cheating on him, Richard Jennings (Michael Findlay) goes berserk, gets hit by a car, loses an eye, and decides to take revenge by killing her and a lot of other women. The first of the Flesh Trilogy, this is both primitive and weirdly fascinating, and while tame by contemporary standards, probably more taboo now than in 1967. A must for New York City adult movie aficionados.

  • White Slaves of Chinatown

    White Slaves of Chinatown


    The initial entry in the infamous OLGA series establishes Audrey Campbell's sadistic bisexual white slaver and shows her at work. There's no plot and no sound, just intermittent, poorly synched narration by Campbell and Joel Holt, plus non-stop library cues, including "Night on Bald Mountain" and Chinese music more appropriate for a lion dance competition. Quite tame and without much titillation value for most viewers these days, this is still of interest to fans of B & W 1960s New York City sexploitation, unfolding on some intriguingly grungy sets and locations.

  • Steel Sharks

    Steel Sharks


    Run-of-the-mill but sufficiently engrossing Royal Oaks stock footage military actioner. A special rescue mission (including Tim Abell and Billy Warlock, the poor man's Charlie Sheen and looking awfully short for a Navy SEAL) takes on a new dimension when the men are captured and taken aboard an Iranian submarine. Billy Dee Williams isn't very committed as the admiral in charge, but Gary Busey has some fun as a sub commander. Neither look very comfortable in their dress uniforms.

  • Deadlock


    There are a hundred DIE HARD imitations, but how about one where Bruce Willis plays the villain? Intriguing, right? Unfortunately, this is 2021 Bruce Willis and these are the people who made BREACH, COSMIC SIN, and APEX. Willis plays an unsavory character who loses his sanity when incompetent law enforcement kill one of his sons and send the other to prison. He insists they are innocent, takes over the local hydro electric plant, and starts to flood the town, demanding…

  • The Alpha Incident

    The Alpha Incident


    This Bill Rebane science fiction film is much like his earlier INVASION FROM INNER EARTH: a small group of people sit around and talk endlessly about an unseen menace. It's a super germ in this case but the genre elements are minimal, apart from a squishy imploding head that, along with some nudity, was still within the parameters of "PG" back in 1978. Not very good, but Rebane has a better grade of actors here and that certainly helps.

  • The Warriors

    The Warriors


    "Can you count, suckahs?"

    Top Ten NYC classic.
    Theatrical version, natch.

  • Braddock: Missing in Action III

    Braddock: Missing in Action III


    Aaron Norris takes over at the helm for the final entry in the series and is usually the case when a stuntman directs, the action sequences get more attention. Part 2 was confined mostly to the prison camp, while part 1 and this instalment open things up considerably. Cannon was in financial trouble by this point, but the only noticeable penny-pinching here is Jay Chattaway's score, recycled entirely from part 1 and INVASION U.S.A. Norris also gets more of a chance to act this time and isn't bad considering that the character he's playing is probably not much more capable of emotion and tenderness.

  • Island Captives

    Island Captives


    After surviving a shipwreck and washing up on a tropical island, a group of people battle the local criminal element. Meanwhile, other gangsters are trying to take over a lucrative fruit harvesting operation, and the various parties eventually intersect. I don't know ISLAND CAPTIVES' original running time, but the 53-minute version in circulation sure has a lot of padding for a movie that barely fills three reels. Unfortunately, what's here that's original is not very good or even all that…

  • Black Magic

    Black Magic


    Orson Welles is perfectly cast and goes full throttle in entertaining fashion here as real-life mesmerism master Cagliostro. However, in terms of history, that's about where real-life ends. The rest is familiar plotting and awkward, sometimes ludicrous dialogue delivered by an equally over-the-top cast that don't handle the third-rate material as well as their co-star. Welles reportedly largely directed this sans credit, which might explain why it looks so good and the pair of gratuitous scenes where he performs sleight-of-hand magic tricks.

  • Heatstroke



    One thing that's apparent when you start watching Tim Kincaid's Joe Gage movies is just how much he was phoning it in with the mainstream stuff he did for Charles Band. His heart clearly wasn't in assignments like BREEDERS and ROBOT HOLOCAUST, though they are certainly fun trash. Compared to run of the mill gay porn from this era, HEATSTROKE is remarkably ambitious, particularly in its use of sound, imagery, and editing. It's not the borderline art/underground film of something…